Carlos Mentasti: “Cinema underwent a radical change; the theater was revitalized”

Journalist: What can you say about the new habits in relation to cinema and theater?

Carlos Mentasti: The theater rose enormously while the cinema did not. I attribute it to getting used to it, and by that I mean, historically the public went on Thursdays to see the premieres, Saturdays were their main outing with friends, and I’m not saying Lavalle, I’m saying shopping, and Sundays were days for women taking the tea and watching movies with friends. That defined the week. And there were half-price Wednesdays that did not imply financial gain but did involve a large audience and word of mouth. The public stopped going to see a certain movie, it began to be guided by going to the mall: to eat and see what they give. All that getting used to, including watching on a giant screen with others laughing or scared to death, was cut off with the covid and did not recover, the theater did. The public chose to stay at home, not take risks, save money and what had been happening since before the pandemic ended up killing the cinema. I lived all the moments, the VHS, the Betamax, the Blueray and all the formats, although nothing compares to that experience of darkness, sound and a film like “Titanic” on a giant screen. After the Covid it was made uphill, added to a value of 1,200 pesos for the entrance and an exit, it results in a fortune of silver, compared to seeing it at home for less cost. However, I insist that there are films that must be seen in the cinema, such as animated children’s films that are wonderful.

Q.: The theater, on the other hand, was revitalized…

CM: I learned that the wonderful thing about the theater is that each time there is a performance dedicated to that audience present that night, be they 70 or 500 spectators. Every day the actors get to do the play exactly the same or better. If I was talking about the magic of watching a movie with others, that magic is double when you see the actors live and not on TV.

Q.: You produce with Valentina Berger, how do you get along with the new generations?

CM: I have to update myself, I made 70 films and they tell me about my successes but I say that success is getting together with people more capable than me to improve. Valentina called me and I didn’t understand her, until her mother told me who she was. I knew her mother because she had a travel agency and she got me stays and the boat for “Dad is an idol.” Valentina would come to the boat and take photos with Francella. I realized who she was then I attended her there and she offered me this work. I don’t read the books, the author or director reads them to me, I need to see their eyes and intensity when they read, and if I see that it excites or amuses me, I do it.

Q.: You usually produce popular movies, what can you say about the plays?

CM: We made “An Enemy of the People” with Juan Leyrado after seeing how impressive it was when it left the official theater. We did tours later, with this I say that I go with the work or film wherever it is, when it connects me with the public because I need the people. My latest film, “A Masterpiece”, which is one of the best I’ve ever made, has a neutral audience, combines popular with intellectual.

Q.: You are a producer present on the set or in the rooms, how do the directors take it? Is there a bid between producer and artist?

CM: After ten days, the director or author already knows me and from then on they know that I am next to them, that I speak in their ears, and I learned that from my father. What is filmed today in cinema remains for a lifetime, so there is no better way than to film several takes, those of the director and those that seem to me, or the one suggested by the assistant or the illuminator. Everything works later you see what remains. Many times there were titles that were defined on set. I have to be convinced of the title, the ten-line synopsis and the rest, if I can’t sell it with those basic but essential data, I won’t do it. The most important thing is to know how I reach the public. Later I can be wrong but there were times that I saw the trailer, the public did not laugh, I threw it away and made another one.

Q.: What do you project for 2023 at the cinema level and at the theater level?

CM.: We have just finished another Broadway play with Valentina Berger for 2024, it is a success there so it comes with that base and then it has to be adapted locally, I am also working on a children’s project for winter holidays and a movie for Latin America and three series in which we are working.

Q.: How has the business changed in recent years?

CM: The cinema had a radical change because today we work for the platforms, we have to talk to the CEO and that is another story. On the other hand, the theater remains the same, you work with the rooms.